Essential Marvel Saga volume 2

Continuing the proper in-depth look at each volume of The Official History of the Marvel Universe. These posts rewrite and expand a previous brief effort.

Essential Marvel Saga volume 2 contains issues #13 to #25, continuing to retell old stories by copying & pasting panels and adding some additional text and the occasional pieces of new artwork to tell a coherent history. The order and new material is written by Peter Sanderson apart from one issue by Peter David, and drawn by Keith Pollard, Ron Frenz, James Fry, Al Milgrom, Tom Morgan, Steve Buccellato, Bruce Solotoff, Phil Lord, Steve Geiger, José Marzan Jr, Hector Collazo and Keith Williams.

This volume continues the practice of summarising key storylines from Marvel's Silver Age, aided by reproducing many panels and using text captions and the occasional piece of new art to accelerate the retellings. Once again the origins are enhanced by later additions to the mythology such as Daredevil's debut including his history with Elektra and Stick as well as the original story. There's also some good tying together of stories to show their impact, such as the Crime-Master launching his attempt to take over the New York underworld at a time when the Fantastic Four are powerless and in hiding, Thor has departed for Asgard for the Trial of the Gods and Captain America is still making his way home through the South American jungle following his final showdown with Baron Zemo. Such a placing goes well beyond a mere wish to have a reading order and helps to show the Marvel Universe as a more integrated whole than it was realised at the time.

The choice of which characters to devote space to retelling their first adventures is a surprise, such as the many pages given over to the debut of Diablo compared to single panels each for the likes of the Grey Gargoyle, Kraven and the Owl's first outings. The cliffhangers to each issue aim to end on a dramatic point midway through a key story but occasionally the story in question is underwhelming or the foe has rather declined in stature since the 1960s. Issue #20 ends with the Frightful Four invading the Baxter Building and the final panel is the Wizard holding the Human Torch hostage. It's a reminder that the Wizard has rather plummeted off the A-List of foes since the Silver Age, his participation in the Prime Movers of the "Acts of Vengeance" crossover not withstanding, making the ending rather underwhelming.

Issue #22 sees a change of approach to the series (and a new editor - Adam S. Balustein succeeding Danny Fingeroth) and is devoted to Peter Parker and Mary Jane's relationship, as the Spider-Man wedding was close. So we see the whole course of it from Aunt May's first matchmaking through other girlfriends and the failed first proposal up to the wedding day, all in one issue. It's a different pace from before and also notable for being about the first place to suggest Mary Jane knew Peter was Spider-Man right from the outset. But there's also an odd moment at the end as a page from the Spider-Man vs. Wolverine one shot is reproduced to try to support the two being made for each other, yet it shows Peter crossing the lines of friendship before realising his mistake - almost as though it was intended to support the two not being together. Whilst it's nice to see an entire issue devoted to the background to one of the biggest events in Spider-Man's life, it would have been much better off as a stand-alone special rather than slotted into the regular series.

The remaining few issues see the saga focus in on specific events for the Fantastic Four and Silver Surfer, rather than the broad approach of showing all the key events across the whole universe. Did the new approach kill the series or was it an unsuccessful attempt to save it? Either way it's a rather unsatisfactory change of course and all the momentum of the first twenty-one issues is lost as we get a narrow focus on the wedding of Reed and Sue, the discovery of the Inhumans and then the coming of Galactus and the Silver Surfer with their origins retold from later issues, showing in particular how the Surfer's past influenced the feelings Alicia reawakened within him. It's unfortunate as the wedding annual was the first significant time almost the entire Marvel universe was caught up in the same story and where it fits into the various series's continuities is something that isn't particularly well explained. We get the origins of Galactus and the Silver Surfer but surprisingly not the Inhumans.

The defeat of Galactus is presented as "a turning point in the history of the cosmos... [the] day humanity's representatives first proved themselves more than equal to the task of mastering the great challenges set them by the cosmos", and thus the point on which to end the series with a three page coda describing some significant events to come, ranging from Spider-Man's famous triumph in the remains of Doctor Octopus's headquarters to the battle between Dormammu and Eternity through to the Dark Phoenix Saga. There's a bit of a "and they triumphed and lived happily ever after" to some of the summaries such as Thor facing off against a witch doctor with the last of the Norn Stones or Namor rescuing Dorma and recovering his throne. Finally the Watcher reveals himself as the narrator of the whole series

Overall this volume shows the misfortune of the change of direction, abandoning the integrated tapestry of the Marvel universe in favour of retelling individual stories with additional backstories added in. That said, the latter approach could be a way to bring new readers up to speed on key characters, without having to subject them to expensive trade paperbacks (in the days before the Essentials but even with them it can take a lot of time and money to build up a complete run and the Epic series's habit of jumping about isn't conducive to chronology) or lengthy and controversial retellings. In the early 1990s this approach was followed with a couple of mini-series including Spider-Man Saga and Wolverine Saga, and there have been some more recent one shots in a similar format.

But that would be individual histories and not really worthy of the title "The Official History of the Marvel Universe" which should have been restricted to a total history across the line rather than segmented sections. The original broad concept of the series is a good one though in an era when so many of the original comics are easily available in reprint form it can now feel a little overlong in its retellings. But even with the issues available the big picture is lacking and this series set out to provide it. It's a pity that got abandoned when it did but the first two thirds of this volume maintain the original aims and good standards.

Essential Marvel Saga volume 1

It's time a proper in-depth look at each volume of The Official History of the Marvel Universe. These posts rewrite and expand a previous brief effort.

Essential Marvel Saga volume 1 contains issues #1 to #12 of The Marvel Saga: The Official History of the Marvel Universe, a special series launched in 1985. It retells many old stories by copying & pasting panels and adding some additional text and the occasional pieces of new artwork to tell a coherent history. The order and new material is written by Peter Sanderson and drawn by Ron Frenz, Tom Morgan, Al Milgrom, Walter Simonson, Bill Sienkiewicz, Steve Geiger, Keith Pollard and John Buscema. Additionally each introductory page and rear "Classic Cover Gallery" are included.

Marvel and DC seem to have spent a lot of the 1980s either copying one another's projects or experiencing simultaneous ideas. Both did their first major company wide events in that decade (Secret Wars and Crisis on Infinite Earths). Both produced special encyclopaedic series devoted to detailing their characters (The Official Handbook of the Marvel Universe and Who's Who). Beyond the comics themselves, both licensed their characters for a series of action figures. And both produced their first "official histories", limited series which sought to bring order to the turbulent chaos of the continuity of their early years. DC's effort was the History of the DC Universe. Marvel's was The Marvel Saga. Who had the idea first in each of these cases isn't always clear as sometimes one company would learn of the other's plans and rush a project through to reach the market first. And I'm sure many of these ideas had originally been suggested by fans – "A story bringing all the heroes together" or "A guide to the heroes and villains" or "A history of the universe" are all pretty straightforward ideas and probably featured in fanzines long before the publishers took them up (but then fanzines didn't have to wait for the direct market that would make most of these projects viable).

The Marvel Saga sets out to summarise the key events in the history of the Marvel universe, showing how they fit together and illustrating them with panels from the original stories. After a few pages of introduction the series pretty much begins with the origin of the Fantastic Four and works from there through the early years of the Silver Age up until the revival of Captain America, explaining characters' back stories when they become relevant. This prevents the series from being bogged down in all the legends of Greece and Scandinavia and other material only relevant to a few, and instead allows a broad range of heroes from the outset. Unfortunately the habit of introducing the backstory only when significant characters debut can disrupt the flow of retelling an individual adventure, such as when the history of Odin is given in one go midway through the story of Thor's first battle with Zarrko the Tomorrow Man. It also means that the Golden Age of the 1940s isn't presented in a narrative order. It's always been somewhat ambiguous just how canonical the Timely and Atlas comics are in the Marvel universe and no answer is given.

What is clearer is the placement of events relative to each other. Thus Spider-Man's origin, which includes weeks of fame, is spread out and other adventures such as the origin and early battles of the Hulk and the Fantastic Four's first encounters with both Namor the Sub-Mariner and Doctor Doom take place between the radioactive spider's bite and the final showdown in the warehouse. A lot of fans have long taken to trying to work out the exact order in which stories take place, and even what order they should read and perhaps their entire collections in, and this is surely the ultimate realisation of such a chronology. But this doesn't just include the earliest issues themselves but also later revelations and retcons such as including much of Professor Xavier's history and the origins of the individual X-Men or including with Iron Man's origin his escape from the Vietnamese jungle and first meeting with James "Rhodey" Rhodes or showing Thor's youth and punishment by Odin at the point when Donald Blake is introduced into the history. This means the series doesn't leave latter-day readers in confusion as they try to reconcile the current state of affairs with the somewhat different status quo in the earliest days. Sometimes later retellings of origins are used as the source of panels and this is particular useful over cliffhangers as it allows alternate art to depict the reprises.

Early on the run it seemingly tries to summarise almost all of the adventures but it soon settled down and relegated many a lesser tale to a small text section entitled "The Continuity Corner" which puts issues in chronological order relative to one another. This most notably cuts down on a lot of adventures with obscure forgotten foes such as the Scarlet Beetle or the Acrobat and seems to hit the Ant-Man and Human Torch stories more than any other series.

Read all at once rather than over some two and a half years this series shows several common themes running rampant in the early Marvels. There seem to have been no end of obscure alien races visiting Earth in the early days of Marvel with most of the heroes encountering at least one. There was also no end of Communist enemies. When this series was first published in 1985-1987 the Cold War was still going on and it was just about credible (by the standards of the Silver Age) for there to have been so many Communist foes in then-recent history. But nowadays the Cold War finished over two decades ago and Marvel is more open about its floating timeline with the modern era of heroes starting anything from a decade to fifteen years ago. It's also surprising just how often the Fantastic Four fell out or how frequently the Thing regained his human form.

The saga is clearly aware of later stories as well which may have impacted the choices for inclusion such as showing the first battles with obscure foes like the Vanisher and Thug Thatcher. It also does its best to reconcile the early Silver Age adventures of Namor the Sub-Mariner and Captain America with what was revealed or restored to continuity later on, such as explaining why neither really recognises their old comrade in arms at first. The introduction of Captain America in issue #12 goes to some length to flesh out all his history prior to his release from the iceberg, with the various additions to the origin, the Invaders retcons and the immediate post war replacements all included in the details when the Avengers finally find him. Given his prominence on the cover of issue #1, reproduce as the volume's cover, it's interesting to speculate just how Wolverine's patchwork past would be handled.

Overall this first volume of The Marvel Saga is surprisingly fun and easy to read. The concept could risk excessive boredom whilst the widespread reprinting of even the more obscure parts of the Silver Age might have made it redundant for an audience who can easily access the original tales. But instead it offers its own distinct take on the events and makes an excellent effort to weave the tales together into a greater whole. The shared universe and overlapping characters was always a big part of Marvel's appeal and it's good to see this taken to the logical extent.

Essential Dazzler volume 2 - creator labels

Yet again we have a volume with a lot of creators, so here's a separate post to carry the labels for some of them.

Essential Punisher volume 4

Essential Punisher volume 4 contains issues #41-59 and annuals #4-5 from the Punisher's first ongoing series. Mike's Amazing World of Comics allocates a 1991 Summer Special to the series, but it's not included here. Annual #4 is part of "The von Strucker Gambit", a crossover with Daredevil Annual #7 and Captain America Annual #10. Annual #5 is part of "The System Bytes", crossing over with Daredevil Annual #8 (that's the fourth year in a row the Punisher and Daredevil annuals were part of the same crossover), Wonder Man Annual #1 and Guardians of the Galaxy Annual #2. Once again only the Punisher issues are included in this volume.

The bulk of the regular issues are written by Mike Baron, with Chuck Dixon doing two fill-ins. The main artist is Hugh Haynes, but other issues are drawn by Bill Reinhold, Mark Texeira, Neil Hansen, Tod Smith, Ron Wagner and Tom Morgan. A back-up strip in issue #50 is written by Marc McLaurin and drawn by Roderick Delgado. The stories in the annuals are written by variously Baron, Gregory Wright & Dan Chichester, George Caragonne, Peter David, Rob Tokar and Roger Salick, and drawn by Morgan, John Hebert, Mike Harris, Steven Butler, Vince Evans and Val Mayerik. Due to the large number of creators, I've created a separate post to carry the labels for some of them.

The series in this period also run a number of pin-ups in the regular issues but usually at most two. The dates on some suggest they were drawn from inventory but it's unclear whether they had been used before or not. I don't know if this was a way of slightly cutting the regular artists' workloads, a chance for other artists to get some exposure or even royalties, or just a way to clear out some backlog material. In general the pin-ups add nothing to the narrative but are kept alongside their original issues so they're not really intrusive.

The only crossovers in this volume come in the two annuals, though one manages to stand on it own rather better than the other. Annual #4 comes without the rest of "The von Strucker Gambit". It might have been more use to present the entire storyline. Here we get a rather confusing middle parter where it's hard to tell what's going on - there's an ongoing conflict between the recently returned Baron von Strucker of Hydra and Nick Fury of S.H.I.E.L.D., with the former testing genetically engineered assassins. There's some interaction with Nick Fury, but it would have been more interesting to give the Punisher another encounter with both Captain America and Daredevil, since the stories in volume 1 showed them to be the best heroes to contrast the Punisher against and it would be nice to see a later take given subsequent developments in all their careers. The back-up stories are far more interesting. Again Microchip gets a solo story and this time he goes to a weight loss health farm, only to discover a criminal operation being run in it. There's also two brief three page affairs, one retelling the Punisher's origin (I've seen a few others of these in other annuals from 1991 but I don't think they were in all of them) and the other featuring him escaping from being taken prisoner by a yuppie and demonstrating why car passengers should always wear seatbelts.

Annual #5 is an improvement on its predecessor and if it wasn't for the banner on the cover and first page proclaiming "The System Bytes" it would be easy to overlook that this is part of a bigger story at all. The main feature sees the Punisher taking on a business that's a front for drug smuggling, with the added complication of a rival smuggler trying to muscle in on the territory. The twist is that the rivals have infected the business's computer system with a virus which complicates the Punisher and Microchip's attempts to obtain information about shipment times. Today in 2013 this may seem like small stuff but back in 1992 computer viruses were very much a major real world concern. Modern readers will easily recognise Microchip's reaction to his system freezing up as he smashes his hand on the keyboard. I'm guessing that the rest of the crossover involves the other heroes dealing with the virus, named "Ultra Max" after its creator, but one can just read this annual and not come away feeling the story is incomplete. The annual's back up stories are a mix as well. Once again we get a Microchip solo tale as he demonstrates his abilities with disguises to infiltrate a hospital to obtain information on a criminal who was only wounded by the Punisher and then having discovered the criminal's contact is his doctor, Microchip uses his hacking skills to alter the criminal's prescription, killing him and setting up the doctor. Another story sees the Punisher take on a gang of vandals in an icehouse. But the feature that's common to just about every annual from 1992 is a three pager presenting the top ten villains of the series or character. Such features are often interesting as a statement of who are considered the biggest foes at any one point, and this one is presented as narrated by the Punisher. However he has the particular problem that most of his foes get killed on their first encounter. So his list consists of:

10. Jigsaw
9. Gregario
8. Sgt. Cleve Gorman
7. The Rev (Sammy Smith)
6. Spider-Man
5. Daredevil
4. The Reavers
3. Saracen
2. The Kingpin of Crime
1. Bruno Costa, Skinner, Kolsky

The inclusion of a couple of heroes on the list is justified by the Punisher on the basis that they get in his way, but indicates the problem in finding enough recurring and/or significant foes for a list of this sort. Most of the other eight have been seen in the Essential Punisher volumes so far, but Sgt. Cleve Gorman appeared in Punisher: Return to Big Nothing, a graphic novel from 1989 in which the Punisher ran into his former drill instructor who had turned crooked. The trio of Costa, Skinner and Kolsky were responsible for killing the Punisher's wife and children so it's understandable that they would be at the top of such a personal list, even though they, like Gorman, Smith and most of the Reavers (following events in Uncanny X-Men), were dead by this time. With Gregario based inside prison (actually called "Riker's Island" here rather than the usual Marvel spelling of "Ryker's Island") this leaves just three significant recurring foes on the loose - Jigsaw, Saracen and the Kingpin. All four appear in this volume.

Otherwise in the regular issues the Punisher faces another assortment of one-off foes in these issues including a group of women terrorists trying to destroy New York's water supply for a mixture of revenge and money, the head of a military academy who produces illegal porn on the side, another Latin American drug dealer and a dodgy doctor who helps with torture, amateur drug manufacturers in a small town facing rapid changes, a serial killer who murders taxi drivers, latter day Nazis, arms dealers, Middle Eastern dictatorships, high ransom kidnappers, an engineer who's built a huge substandard dam and retreated to a special biosphere to live detached from the world, Chinese gangs and ex-military and a woman who steals babies from the poor to be adopted by the rich. Interestingly on more one occasion a foe is motivated into revenge for rape, but rather than taking it out on the individual rapist or rapists in general, the first (actually a friend of the victim rather than the victim herself) focuses their hatred on the whole of New York City and the second on its cab drivers because none would stop to take her from the neighbourhood she found herself in that night and the tragedy occurred as she walked home. In the latter case the Punisher comments that had she instead targeted rapists his reaction to her would have been very different, offering advice on weapons and tactics.

Overall these single parters continue to put the Punisher through a huge variety of situations but as highlighted above there are some signs of repetition in both the types of foes and the motivations. However the series does take some steps towards a greater ongoing narrative with recurring foes. The lack of Essentials for Punisher War Journal really shows itself here when the regular Punisher #47-48 see the return of Saracen, who has become the Punisher's considered greatest enemy after events in Punisher War Journal #25 & #27, which would presumably be covered in a second Essential volume for that series. It's a similar mess to that in the Spider-Man Essentials where the Hobgoblin and alien costume sagas have had their epilogues or conclusions published before much of the previous story. Here's hoping it gets rectified soon, as currently Saracen's shift from one-off ally to recurring villain is left unexplored. The aforementioned issues #47-48 contain a two-part tale about arms in the Middle East. Originally published in February and March 1991, they show the dictatorship of "Trafia", led by President Jekohadeem, a mustachioed military dictator who shoots a subordinate in his own office. Trafia has built a giant supergun for attacks on neighbouring states. Trafia's traditional enemy is the neighbouring Islamic regime "Zukistan" and tensions build between the two, but Trafia is also threatening other states with weapons of mass destruction, most notably Israel. The covers to these issues are even more explicit, with #47 proclaiming "Caught in a Desert Storm!" and #48 shows the Punisher tied to the muzzle with the caption "Next stop: Baghdad!" (It's an odd caption when you consider the gun is located in the parody of Iraq rather than Iran.) It's surprising to see such a direct take on events in the real world from an early 1990s comic, though Jekohadeem has a different fate from Saddam Hussein - he is assassinated by a Mossad agent whereas Saddam did not fall in 1991, despite expectations and hopes.

The last seven issues in the volume feature another multi-part story that originally saw the title go biweekly for the season. "The Final Days" sees the Punisher undergo a marathon of endurance under pressure from the Kingpin. First Microchip is captured and has a finger chopped off to force the Punisher into removing one of the Kingpin's rivals. Then the Punisher gets captured and sent to Riker's Island where amongst the inside violence he once again encounters Gregario and Jigsaw, with the latter being presented rather more seriously than the comic element he sometimes became in previous encounters. Before the Punisher escapes his face is badly slashed, forcing him to seek medical help whilst also being pursued by the Kingpin's men. Meanwhile Microchip has been released, albeit in Thailand, and makes his way home to help the Punisher. By the end the Punisher had found a plastic surgeon and undergoes a startling transformation.

It's a very downbeat saga in which no one is left unscathed. Microchip has been developing a computer game on the side which proves quite successful; unfortunately thus leads to his capture at a toy fair and subsequent wounding then humiliating trek home from being dumped in rural Thailand. The Punisher is shown here to not trust his one friend completely, and maintains a private weapons store that even Microchip doesn't know about, guarded by a loyal dog called Max. Sadly when Microchip is sent to refill Max's feed the Kingpin's men follow him and Max is shot. It's a particularly sad moment when the Punisher finds the dog too wounded to save and has to put him down. Even the Kingpin's men come out badly, with anyone who survives and returns to report failure soon meeting finality at the hands of the crimelord. The Punisher himself endures the fate he's inflicted on Jigsaw when the latter cuts up his face. And the story (and the volume) ends on a shocking moment, though the impact is lessened in black & white as it lacks the most obvious give-away. The Punisher asked the doctor to make his face so that no-one will recognise him and she does just that - by making him black.

I have no idea just how scientifically plausible this scenario is, but there's dialogue about the doctor having conducted experiments with tissue regeneration and melanin, so it certainly sounds scientific enough to convince the lay reader as being realistically possible (and in 1991 the average reader wouldn't be able to just look this up on the internet), give or take the character of the doctor. Melinda Brewer trained in medicine and experimented on the side but found the pressure of hospital work drove her to drugs and was struck off for stealing them and now she works as a prostitute to feed her addiction. So the character is a little far fetched, although it's not as if the Punisher could go to a major stable plastic surgeon who might otherwise treat the likes of Michael Jackson. Melanin is a real word, being the pigment that determines skin colour, so it lends the situation an aura of credibility. But the real test is how the scenario is handled in practice, for which we'll have to await volume 5. If Marvel makes a go of Essentialising Punisher War Journal and bringing it up to speed then we may be waiting a while.

As well as the development of villains, we also see a little development with Microchip, who remains the sole supporting cast member in the title. As seen at the end of the previous volume he has spent some of his time developing a new computer game and some of the issues here show him in the process of refining it until it wins an award at a toy fair, though for Microchip personally this is a double edged sword. We also see his powers of disguise developed, not just in annual #5 but also in "The Final Days" storyline as he adopts a disguise that's notably thinner than his usual bulk and poses as the Punisher's lawyer. The pain and humiliation he undergoes in that storyline serve to underline just how loyal he is to his friend and willing to take almost anything for the greater mission. There's a bit of fleshing out of his background, with issue #46 revealing his father was forced to work for the Nazis in developing destructive weapons before escaping to the States, and issues #47-48 brings a clash from his strong Zionist opinions when the Punisher saves the engineer behind Trafia's supergun, when that state is committed to the destruction of Israel. In this story Microchip makes his own way to the Middle East to help Zukistan destroy its rivals' gun, and cuts a deal with that state to save the Punisher's life, even though it means letting the double-agent Saracen live, an arrangement the Punisher is none too happy with.

It's thanks to putting more development into both the Punisher's aide and his foes that overall this volume feels much more complete than earlier ones. The only story that stands out as a mess is the middle chapter of "The von Strucker Gambit" in annual #4, and that really reflects the wider problems of the annual crossovers in the early 1990s. It's easy to see why the tactic was generally abandoned after 1992. The rest of the series is reasonably high octane, putting the Punisher through some quite tense and gritty situations. In this period Marvel was still putting out its books with Comics Code Authority approval but it would appear that by this point either the Code was largely a rubber stamping formality or else Punisher was really pushing it right up to the permissible limits. The result is one of the more solid and consistent runs on the character and series so far. However the cliffhanger at the end is a sufficiently bizarre move that the next volume may test that...

Essential Web of Spider-Man volume 2 - creator labels

Yet again we have a volume with a lot of creators, so here's a separate post to carry the labels for some of them.